Between Books - John Carter and the Gods of Hollywood

I have been a fairly outspoken supporter of Andrew Stantons’ 2012 John Carter. The marketing campaign stole some of my excitement before I saw the film, but the finished product pushed itself into my top five movies of 2012. I am someone who would love a sequel and further exploration of Barsoom. And it is because of the movie that I picked up the original A Princess of Mars by Edgar Rice Burroughs and found myself entranced by a really well developed world in the midst of romantic adventure. I would say due to the film, I am a new convert to Barsoom, and I think there are others like me.

Michael D. Sellers however is part of the pre-movie fan base. For Sellers, awaiting John Carter, was a dream come true where his beloved franchise would finally get its proper due on the big screen. Sellers may have found the final product on the screen satisfactory, but the support given it by Disney was a clear disappointment. For a movie that was budgeted to be a tentpole movie for Disney, the movie was never given the support its $250 million budget should have warranted. The fact that this blockbuster in waiting became either invisible or misunderstood by the potential audience largely led to the label as Disney’s Ishtar.

Sellers in John Carter and the Gods of Hollywood examines the historical development of the film from the Edgar Rice Boroughs decision to write his first short story to the home video release of John Carter. He examines the multiple attempts to bring Barsoom, or Mars, to the big screen including failed efforts by Disney and Paramount. With the Pixar acquisition of Disney just finalized and the John Carter rights being released from Paramount, Carter fan and director Andrew Stanton suggested that Disney studio head Dick Cook pursue the franchise. Cook wishing to please a key member of the Pixar team and a proven director agreed to purchase the rights, despite an earlier Disney failed attempt to develop a Carter film. Stanton, who became a John Carter fan through the 1970s Marvel comics, diligently worked with fellow Carter fans and a supportive producing staff to bring the century old story to a modern audience while staying under the enormous budget. But with the replacement of Cook by Rich Ross, the corporate enthusiasm for Stanton’s first live action release ended. Ross would never give his full support to this project green lighted under the old regime. Ross’ newly hired marketing head, MT Carney, a new voice in movie marketing, was focused on a backlog of projects releasing before John Carter and departmental reorganization. These priorities were placed before the marketing of the potential tentpole film. Additionally, Carney’s research led Disney to remove the phrase “of Mars”, a change that generally meant much of the potential audience was not aware the film was a science-fiction offering. And Disney CEO Bob Iger, while not actively sabotaging the film was interested in acquiring LucasFilm, a desire which could have been hindered by a successful film. The lack of enthusiasm, and marketing, lead the movie to underperformed and be labeled a failure by Disney within ten days of release and before entering the world’s two largest film markets (China and Japan). Sellers finishes his story by discussing a real win for John Carter, being ranked number one in DVD sales upon release. He closes by discussing the possibility of future Carter movies and the circumstances under which a sequel could be made. And Sellers reviews the various personalities in the real life story of John Carter’s failure and identifies their role in the movie’s bust label.

John Carter and the Gods of Hollywood is probably one of the best corporate history titles I have read since Disney War. Sellers does an excellent of job of trying to understand the politics of Disney and why decisions were made. And I think it is fair. For example, as a hardcore Burroughs fan it would be easy for him to paint a picture of Carney that is, well, evil. Many have lambasted her efforts in marketing the film including the decision to remove “of Mars”. Instead Sellers attempts to paint a picture where readers can understand what Carney had to overcome and the competing priorities of her short lived Disney posting. One can understand the pressures and blind spots that Carney was not able to overcome. Still he is honest in showing how the social media campaign failed, and was lacking, for this expert in new media. Additionally, he could have painted Iger as a villain killing the Carter film. Instead, Sellers explains Iger’s acquisition strategy, making it clear why he may have lacked excitement for a film that could have hindered his ability to bring Star Wars fully into the Disney family. Additionally, Sellers deeply analyses the Disney marketing strategy for the film including its poor poor results, especially when compared to The Avengers and The Hunger Games.

Sellers as an author is not just analyzing this story but is also part of it. Sellers was a proactive member of the Burroughs fan community who attempted to move the needle in support of the film. He discusses how he built the fan site www.thejohncarterfiles.com and edited his own fan trailer, one that Andrew Stanton declared was the only trailer that got the movie. Sellers is realistic about the obstacles that a John Carter film had to overcome and looked to the fan community to help Disney overcome them. For example, the number of Burroughs fans had declined severally and the Barsoom stories were a century old. So it did not have an active fan base as vocal as more recent The Hunger Games to bolster the film and other films such as Star Wars and Avatar had strip-mined the film of key story elements. Sellers as a character in the book had sought to convince Disney and the fan base that the fan community should be actively seeking new members and explaining that John Carter was the inspiration for many popular movies, not a cheap carbon copy of them. Sellers’ attempts were not supported on many sides. While Stanton may have supported his fan trailer, Disney was not interested in seeking inroads with fans. And even the fan community spoke with negative voices expressing concerns about Stanton’s movie and story changes. Some did not see as Sellers predicted that the movie could bring new fans to the Burroughs’ library, like myself.

John Carter and the Gods of Hollywood is a fair, factual and enlightening assessment of what went wrong with the development, marketing and release of John Carter. The book is well written and clear, and has a personal touch as Sellers enters the story describing his own efforts to support a movie sight unseen. Sellers closes with the belief that there could still be life in the Carter franchise, just not with Disney, and for fellow Carter fans I hope he is right. John Carter and the Gods of Hollywood is a tragedy, showing us the blockbuster that could have been and how the efforts, or lack of, made it one of the most ridiculed movies of 2012.

Review Copy Provided by Author

Between Books - Who's Afraid of the Song of the South?

Jim Korkis provides inside stories in Who’s Afraid of the Song of the South? And Other Forbidden Disney Stories, in the style of his earlier book The Vault of Walt. The book is divided into two main parts. The first 100 pages focuses on the controversial Disney movie The Song of the South. Korkis examines this film in depth including outlines of the screenplay development, casting, music, premiere and of course the controversy that emerged from it. Along with discussing the movie he also delves into other historical aspects of the Brer family, including the Uncle Remus comic strip, the Song of the South song, a biography of author Joel Chandler Harris and the development of the Splash Mountain attraction. The final 150 pages provides a variety of “forbidden” stories that Disney history, especially official history, does not typically cover. These tales include Disney educational films on menstruation and venereal disease, a Mickey Mouse story that includes suicide, the myth of Walt Disney’s last words, Tim Burton’s early tenure with Disney animation, Ward Kimball and his attempts to develop a factually based UFO production, and several more.

The focus on The Song of the South has lead to several discussions around my workplace. The film clearly still captures the interest of the general public, even if they have not seen it. I loved hearing co-workers who would not call themselves Disney fans note that Disney history is a reflection of American history. And Korkis’ writing helps make this point as he discusses the greater background in which The Song of the South was developed, released and the changing opinions of the film as time passed. As Korkis discussed the fact that James Baskett, who played Uncle Remus, would not have been able to attend his own premier due to race laws I was deeply saddened. But it also helps provide context to a greater issue in Southern history and the prevalent racism of the day. Korkis does not whitewash the history of this Disney film. He makes it clear that a major criticism, and a legitimate one, was the inability of the story to firmly establish the setting in the Reconstruction era instead of a pre-Civil War south. Viewers have had difficulties understanding that Uncle Remus and other African Americans on the production were free and not slaves. From my own informal surveys of those who have seen the film, the criticism is valid since 50% of those I polled believed the film was set during the slavery era. I would warn the title however is a little misleading. So, if one is looking for a book that provides in-depth discussion of this topic, they will likely be disappointed that the entire text is not focused on the film. Others who enjoy Korkis’ writing style and his “inside baseball” type tales will likely be satisfied if not thrilled with this format which shares stories from over 60 years of Disney history.

Korkis’ writing is very clear and easy to read. I do think that with the topics he presents, especially in the “forbidden” realm, that it should be noted that Korkis presents his tales with a respectful tone. Honestly, some of these issues, including a pornographic poster and Disney’s educational films, could easily lead to snickers in any boy’s locker room. Instead, Korkis presents these tales in a way where even the silliest reader will not blush or snicker.

Two personalities rise to the top for readers. Walt Disney is linked to many of these stories and of course The Song of the South film. Disney has been criticized for being racist in allowing this film to be released. Instead the picture that Korkis presents is a man who was deeply sensitive to the race issue. He did not move forward with the original script treatment which he saw as highly racist. And he went to extremes to correct the tone of the initial draft. Additionally, he was very supportive of James Baskett, even advocating the actor receive a special Academy Award for his portrayal of Uncle Remus. You must applaud Disney for producing a film that featured a significant African American cast, one in which it would be impossible to edit out those characters for Southern audiences, which was often done for Southern theaters. Second, Ward Kimball and his quirkiness shines. In this case a short essay on UFOs and Kimball was one of my favorite essays. Those familiar with Kimball’s career will find it easy to believe that he was a UFO true believer. And one cannot help but smile as you read of Kimball retelling Wernher von Braun’s tales of the Roswell Crash and trying to get UFO footage from Air Force officers. It just makes it clear that we need the Kimball biography, which will further expand our understanding of this unique creative man!

Jim Korkis in Who’s Afraid of the Song of the South? presents Disney historical issues that are largely “forbidden” or ignored topics. His analysis of The Song of the South is informative and sure to kick off many discussions. His exploration of other topics is serious and helps uncover episodes in Disney history that many readers will not be aware of. Who’s Afraid of the Song of the South? is a successful follow-up to The Vault of Walt, and anyone who enjoyed that original offering will be pleased by this newest book.



Review Copy Provided by Theme Park Press

Dreaming Disney - Marc Davis Imagineering Master

Another one of my articles was just posted at WDW News Today.  This newest article, "Marc Davis: Imagineering Legend" came out of my fandom of Marc Davis.  There is so much in the Disney parks and film that I enjoy that he helped design.

I hope you enjoy, and I would love to hear any ideas you might have for articles I could explore.

Mousey Movies - Lilo & Stitch

Love him or hate him you still have to admit that Stitch is part of the Mouse Family. The lovable/despicable alien’s merchandise is everywhere and sells! In the Between Family, Stitch is beloved. The Between Tween when younger got into fights with PhotoPass photographers looking to add magic to photos. They wanted a terrified reaction to match up with the inclusion of Stitch in the photos. Why would you act scared when your lovable friend Stitch emerges? That is absurd the young Between Tween would announce. Luckily in 2012 we found a photographer that understood the excitement and encouraged an over the top thrilled reaction. The Tween loves the photos of Stitch happily popping into frame.

In this Mousey feature, Lilo & Stitch, alien criminal Stitch flees to Earth. While trying to hide from his captors he meets and bonds with a young girl named Lilo. Lilo has recently lost her parents and her guardian and older sister struggles with growing up more quickly than one might want. Lilo adopts Stitch as her family pet, in a family where family matters.  this Alan Silverstri scored film is here to stay with all it's Mouseyness:

• He’s a Tramp: Lilo meets Stitch in an animal rescue shelter. While Stitch pretends to be a dog there are a number of real dogs in the kennel. They should look familiar to Disney fans as they are stylized after the dogs from the kennel in Lady and the Tramp.

• Stitch: In 2002, Chris Sanders did it all in Lilo & Stitch! Sanders providing the voice, writing the story, designing characters and directing the film. Sanders mark on this franchise is impossible to ignore. Sanders, a CalArts graduate, is linked to several Disney animated classics especially in story in visual development for The Rescuers Down Under, Beauty and the Beast, Aladdin, The Lion King, Mulan and Fantasia 2000. He followed up Lilo & Stitch with the sequels Stitch! The Movie and Lilo & Stitch: Stitch Has a Glitch. In 2006 Sanders left Disney employment as rumors swirled that John Lasseter and he had disagreements over the story of the movie that would become Bolt. Reports have downplayed the rift since, especially since Sanders returned and voiced Stitch and Leroy in Leroy and Stitch. Also in 2012 he has participated in D23 fan events, so hopefully some reconciliation has occurred. Sanders has had continued success at Dreamworks with films such as How to Train Your Dragon. 

• Postcards from the Edge: At one point Stitch looks through some postcards. One postcard is from Orlando, the location of Stitch’s third home in the Walt Disney World Resort. And another is from San Francisco, home of the Walt Disney Family Museum, which I am desperate to visit!

• A113: It is very standard for animators who are also alumni of CalArts to hide their former classroom in their movies. In Stitch they really hit us over the head with A113 as every license plate, every single one be it car, gas truck or fire truck is A113.

Ohana means family, a message that the Between Family reminds ourselves of a lot. The Between Tween also likes to remind me that meat on sticks is delicious! I like Lilo & Stitch in the final assessment, though honestly if the Between Kids are rewatching it I tend to look for something else to watch. But based on the number of times I have heard the opening theme when cruising the roads of Betweenland behind my head, Lilo & Stitch continues to be a kid hit.

Dreaming Disney - Escape from Casey Jr.

My latest article for WDWNT: The Magazine has gone live.  The tale, "Escape from Casey Jr." recounts the "excitement" of my family being evacuated from the Casey Jr. Circus Train last summer.  I hope you enjoy my attempt to get some humor out of a hot afternoon! 

I should not that WDWNT: The Magazine is changing its format and instead of being a PDF magazine, articles will not be published directly at the WDW News Today website as featured content. 

Between Books - Walt Disney's Railroad Story

Let me be honest, Walt Disney’s Railroad Story: The Small-Scale Fascination that Led to a Full-Scale Kingdom by Michael Broggie is one the best Disney history books that I have ever read. It is clear, informative, exhaustive and wonderfully illustrated with photos. If you are able, you should consider adding this volume to your Between Books library.

Michael Broggie, the son of Disney Legend Roger Broggie, masterfully details Walt Disney’s love of trains, their emergence in his life as a hobby, their inspiration for the Disneyland Park, and their presence globally in Disney parks. Detailed is an understatement, with 400 pages of Disney train history and photos. Broggie starts his history with Walt Disney’s boyhood train experiences including selling newspapers and concessions as a news butcher. Broggie then jumps to the 1930’s when the successful Walt Disney sought a new hobby to replace the physically tasking polo to help release his stress. A 1932 visit to the Chicago Railroad Fair with animator Ward Kimball helped reinvigorate Disney’s interest in trains. This inspiration leads to Disney becoming interested in miniature railroading, building an extensive track for his miniature engine Lilly Belle behind his Holmby Hills home in the Los Angeles area. Disney’s backyard became a weekend retreat for family, friends, fellow rail fans and even business contacts. But after an accident with a child, Disney began to question if his backyard setup was ideal and began to look to bigger endeavors. This new challenge would be the Disneyland Park, which had to have a train. Broggie outlines the history of the Disneyland Railroad, originally known as the Santa Fe and Disneyland Railroad, including the track layout, the construction of the engines and passenger cars, and train stations. Broggie then follows with a history of the railroads of all the Magic Kingdom parks. He also includes brief histories of train inspired attractions such as the Monorail. The book closes with appendices sharing information about the Disney trains including a complete roster of the Disney trains at the time of publication.

For me one of the highlights of the book really was the story of Disney’s Lilly Belle. Broggie’s detail of Walt’s personal train is extensive, detailed and fascinating. One comes to understand how much Walt loved this hobby set with him hand building much of train himself. And one can see the connections to Disneyland as his personal railroad became more ambitious and drew greater attention. One’s heart almost breaks as you read of Disney’s decision to quit operating at home, but it is quickly replaced by excitement as you realize the next step of Walt’s imagination is Disneyland.

Walt Disney is not the only Disney legend highlighted in the text. Ward Kimball is profiled extensively, including a description of his full size railroad in his backyard. Additionally Broggie details the at times rocky relationship with Walt Disney, including over train issues. Ollie Johnston’s full size and miniature collection is also discussed. And of course Broggie’s father Roger who ran the machine shop within Walt Disney learned the skills needed to build the Lilly Belle and who’s watchful eye helped Disney bring his personal engine to life is featured extensively throughout the book.

The text is clear and easy to read. And it is illustrated beautifully with numerous photos. But I will admit I read this book slowly, enjoying it’s content instead of running through it. A true advantage to Broggie as a writer is his personal experiences. When he writes about Walt Disney, he does not write about Disney from a distance. Instead, Broggie was a boy who grew up around Walt Disney as he enjoyed his hobby and visited the Holmby Hills railroad. Many of the text’s pictures are from the Broggie family collection. He writes from experience as he enjoyed Disney’s hobby firsthand.

The only drawback to Walt Disney’s Railroad Story is the price. With the first edition out of print it can be found used well over $100 in the secondary market. The Carolwood Pacific Railroad Society, formed to help preserve Disney’ railroad legacy, currently sells the third edition of the book for $69.95, for those looking to avoid the markup of used editions. It is truly a delightful book that has already inspired in me to start at least one future project and a trip to a local train museum.

Michael Broggie’s Walt Disney’s Railroad Story is one of the finest Disney history books I have read in the last year. It is easy to read, dives deep into an important aspect of Disney history and is enjoyable. I feel like it is one of the real gems in my Between Books library and anyone who has a copy should feel themselves lucky!


Postscript: I have to admit; I really did not think I would ever own a physical copy of Walt Disney’s Railroad Story. But it was through the efforts of a friend of a library a 1,000 miles from my home that I was able to find an affordable copy. Please remember to support your local libraries. You will likely be surprised by the Between Books you can find on their shelves. And if you have the opportunity to support them financially through book sales and other donations, I highly recommend it, as library holdings are a true resource for book fans.

Mouse Movie Review - The Odd Life of Timothy Green

I really intended to see and review The Odd Life of Timothy Green. But the end of summer got really busy and I never saw the film. So the Between Wife and Tween went off alone to see it and both gave it ringing endorsements. So we bought the film and I recently watched it at home with seven loved ones. And I admit, I think that watching those that I care about enriched my viewing experience.

Cindy and Jim Green, played by Jennifer Garner and Joel Edgerton, after several attempts and growing debt discover they have no options for helping them have a child of their own. Faced with their certain infertility, they allow themselves one more night to dream of what their child would be like, placing the attributes of their unobtainable child in a box which they bury in their garden. After a freak rain storm, they discover a young boy in their home claiming to be their son Timothy, played by C.J. Adams. The Green’s struggle with becoming instant parents to a unique child, Timothy has leaves growing from his legs, and learn about love in this family focused story:

• Presented By: I started The Odd Life of Timothy Green in a grumpy mood. And it was the title cards that put me there. Instead of opening with a title card that said Walt Disney Pictures Presents, we got Disney Presents after the castle opening. I am sorry. There is no reason to mess with a brand and legacy started in 1923. The Walt Disney name has translated as family entertainment for decades. I can see not putting Walt Disney Presents in front of a movie like The Avengers. But a movie like The Odd Life of Timothy Green which I think Walt Disney would have approved of, being a wholesome family offering, should have Mr. Disney’s whole name on it. Call me old fashion but if you want to mess with the studio name, roll it back to the Disney Brothers Studio, otherwise there is no other reason in my mind to truncate the Walt Disney name.

• Man of Steel: So one of the next big non-Mousey superhero movies is the Superman Man of Steel film. In the trailer we see Pa Kent, played by Kevin Costner, struggling with a question about Clark and revealing his uniqueness. Should Clark let someone die to hide who he is? When I see this scene I see a parent reflecting on the consequences of letting the world know the uniqueness of their child. Will he be seen as a freak? Will someone take him away? Will someone try to kill him? The “him” easily could be Superman and Timothy Green. It is very odd that a young boy would be growing leaves. As a parent I feel with Cindy and Jim as they struggle with how to allow Timothy to be himself while still protecting him from a world that can be harsh.  

• Fake Kids: I have to congratulate Rosemarie DeWitt who plays Cindy’s sister Brenda Best. Brenda is the kind of person that clearly cares about looks and putting out the image of propriety before being well, kind. She makes several comments about Timothy and his at times odd behavior. The delivery of these comments set my opinion that I strongly disliked this character beginning at her first conversation with Cindy where she asks Cindy about her desire to have a “real kid!” I have to admit, there is somewhat a question in the back of the audience’s mind if Timothy is real or something magical and non-human. They are clearly establishing that for Brenda, adoption is a lesser route than typical family planning. I don’t want to spoil Cindy’s perfect reaction and one that I can hear friends with adopted children deliver. Cindy knows that Timothy is her son, even if she skipped the birthing room. Again, I have to congratulate DeWitt, she is able to portray this character that it reminded me that all kids are real ones and deserve a family to call their own!

• Keep Moving Forward: In my mind, Timothy was around the same age as the Between Tween. But Timothy unlike the Tween, was born into that age and did not have the time to pick up the skills that other children would have had in a lifetime of typical child development. So Timothy is at times awkward! But you have to love his attitude, an attitude that would make Cornelius Robinson proud. Timothy proclaims at times he can only get better! Yes Timothy, keep moving forward!

• Parental Warning: Often throughout The Odd Life of Timothy Green I assessed and struggled with my parenting choices, in a good way. Both Cindy and Jim struggle with how they want to parent especially in their instant kid scenario. They wish to avoid the mistakes they believe their own parents made. So they compensate, maybe even overcompensate to the opposite ends of what their parents did. And their opposing choices honestly have just as disastrous impact as those they are running from. I think in both cases what was missing was making parental choices that takes into consideration the unique qualities of the child. Sorry about climbing onto a soapbox there. But I think that this shows the serious content you will find in this Mousey Movie.

To be completely honest, I am not sure if The Odd Life of Timothy Green is a buyer. It has a slow pace and is far from an action adventure. No one dressed in black ever comes from a mysterious government agency to take Timothy away. At the same time it is a tearjerker in a good way. And it is a film you can watch with the family especially if you have mature children that are able to understand complex issues. I admit I did not expect a “Walt Disney” production to make me reflect on my parenting choices in the depth that The Odd Life of Timothy Green led me to. I would recommend parents and future parents spend two hours with the Greens, but action fans will likely quickly loss interest.